FDA Guide to film distributors association 2012

In the film industry, the goal is to recoup the cost and turn a profit and in reality most films do not make a profit from their theatrical runs alone. To reach this goal a distribution plan is produced by the distribution company, this includes: when and how to release, and who the target audience is.

The distribution risk

Audience tastes are unpredictable; therefore market research is key, this involves evaluating alternative marketing and test screening. Avoid Pre-conceptions or assumptions, try new things. Due to it being unpredictable, distributors earning, market share and profitability fluctuate year by year will be at stake.

Focus on the audience.

Understanding of the target audience, the audience can vary considerably film by film, it’s very important never to lose sight of a films core target audience. The most frequent cinemagoers tend to be aged 15-25; average number of cinema visits per person in the UK is at 2.7 a year. The better a film performs at the box office, the more likely it is to be attracting infrequent cinemagoers.

The competitive jungle  

Competition is always a primary consideration, which films are other distributors likely to release at the same time and during the following weeks.

Satisfying anticipated demand

Different releases are managed in different ways, a saturation release ‘at cinemas everywhere’ may open simultaneously on 1,000 screens UK wide, playing at two or more screens per complex. Specialised films offer a different cinematic experience. London, with an increasingly diverse population of 7.5million people, accounts for about a quarter of UK cinema admissions.

Word of mouth

Online community can be the most powerful stimulus for a cinema visit. Word of mouth is extremely difficult to overcome. Campaign distributors aim to reach as much of their target audience as possible.

Poster

The main image distilling the appeal of the film, with often a dozen or more different posters on display in a cinema at any one time, distributors must work hard to make each one stand out. A poster is produced for every release, in quad format (the traditional UK size of 30” x 40”, landscape orientation). Months before release a teaser may be created, distributors also provide other display materials for cinema foyers.

Trailers

Distributors usually have a range of audio-visual content to work with as they prepare campaigns, including film clips approved by the producers. Full trailers, screened shortly before a film opens, may be preceded by early teasers. Exhibitors, who programme their own screens, select trailers appropriate to the feature film.

Online and mobile

Fizzing with network of film fans, the internet plays a pivotal role in shaping many cinemagoers’ perceptions of new releases. The web helps distributors to start building awareness of a new film at an early stage. Film clips are among the web’s most searched-for content, available across many sites, film distributors’ websites direct traffic to exhibitor sites where tickets may be purchased online.

The immediacy of social media

The internet being a two-way street, the moment a film is screened, comments are shared instantly and comments are shared instantly and constantly around the world. Not just opinions, but content too, can spread virally like wildfire via Facebook and Twitter.

Broadcast, ambient and print media

Media proliferation and fragmentation have given all advertisers a multitude of options. Advertising placed on broadcast channels, outdoor panels and in the press is usually the largest expenditure item on a P&A budget. Terrestrial television is traditionally the most effective visual means of reaching a mass audience. Event/Blockbusters with top stars need heavy advertising spends to support their wide releases. Distributors must bear in mind that different audiences react to advertising, and reach their to see a film, in different ways.

Publicity

As readers tend to accept independently-written news items more readily than paid-for advertising, advertising, editorial coverage of a film can be highly persuasive. Film publicists compile press kits for journalists. The Publicity team, frequently supported by specialist agencies, arranges media interviews with available members of the films cast, and chaperones artists visiting the UK for junkets or premieres. Screenings for national critics are normally held on the Friday, Monday and Tuesday before a film opens to the public.

Promotional partnerships

Depending on the films theme and target audience, the distributor will endeavour to arrange promotional partnerships. Importantly, too, tie-in advertising under license by a promotional partner or brand wit a product placement in a film can add substantial weight to the distributors own campaign.

Merchandising

Many releases particularly family films, have merchandising programmes co-ordinated by the film company or an external consultancy. Tie-in merchandise can embrace toys, media promotions, placed on an appropriate channel or publication, can effect use of film merchandise or location holidays as prizes. Occasionally, a film becomes a ubiquitous event, saturating the media as well as appearing in advertising, partner campaigns and other outlets.

 

Premieres and experiences

Distributors’ publicists organise premiers as an official launch for a film, reflecting an even stature and providing a platform for photo opportunities and red carpet interviews. Star-studded premiers and after-show parties are covered by celebrity publications and news media, and often transmitted worldwide. A gala screening in aid of a charity can raise a substantial sum via ticket sales and donations, while from the distributors professional perspective the main goal of a premiere is boosting the all-important buzz factor. Most premieres in the UK -around 50 a year- take place in London’s Leicester Square, which has recently had a substantial make over. In addition to premieres, distributors may consider other ‘experiental events’.